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Article Excerpt
Alfonso Fontanelli. Complete Madrigals. Edited by Anthony Newcomb. (Recent Researches in the Music of the Renaissance, 119, 121.) Madison, Wisc.: A-R Editions, c1999-2000. [Part 1: Primo libro di madregali a cinque voci (Ferrara, 1595). Acknowledgments, p. vii; introd., p. ix-xxn; 4 plates; score (with pref. to the 1603 ed. In Ital., Eng.), p. 1-68; crit. report, p. 69-72; appendix, p. 73-86. ISBN 0-89579-446-2. $45. Part 2: Secondo libro de madrigali a cinque voci (Venice, 1604). Acknowledgments, p. vii; introd., p. ix--xxix; 5 plates; score (with pref. to the 1604 ed. in Ital., Eng.), P. 1-63; crit. report, p. 65-69; appendix, p. 71-90. ISBN 089579-448-9. $45.]
With this recent edition of two books of his five-voice madrigals, the nobleman, courtier, and composer Alfonso Fontanelli (1557-1622) can at last leave the limbo of a historiographical reputation based more on his contemporaries' praises than on a direct appreciation of his music. The name of Count Fontanelli recurs in the writings of almost everyone who, at the beginning of the seventeenth century, became involved with the various musical avant-gardes of the time. The best-known example is certainly that of Claudio Monteverdi, whose brother Giulia Cesare included Fontanelli among the champions of the new style in the Dichiaralione della lettera that he wrote and published as an appendix to Claudio's Scherzi musicali (Venice: Ricciardo Amadino, 1607; reprint [with introd. by lain Fenlon, Bibliotheca musica bononiensis, sec. 4, no. 80], Bologna: Arnaldo Forni, 1998). The first list of seconda prattica composers brought forward in this text is admittedly a little suspicious, and I am not the first to notice it . With the exception of Cipriano de Rore Cthe true founding father), no professional musician is mentioned. The names are all of noblemen: Carlo...
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